Who would have thought that I end up back at the Berlin Philharmonie so soon after the last concert by Simon Rattle just some days ago? Certainly not me.
This was really pure coincidence. I happened to stroll by the Berlin Philharmonic hall purely by chance. Suddenly, a guy approaches me, and asks “Would you want a ticket for the concert? Brahms, right now?” Well, who can say no to that? So 5 min later I find myself sitting in the Berlin Philharmonic hall watching as the BPO and the Rundfunkchor Berlin reassemble (I only got there during the break).
Ein Deutsches Requiem
I haven’t written that much about requiems yet on my blog. I have a certain respect for this category of music, as I always remember it is written for a very serious occasion, the death of a loved one. Maybe because of this I don’t listen to requiems enough.
I’ve previously mentioned Mozart´s requiem on my blog as part of My Must-have Mozart Albums. The other requiems I really love are Fauré’s (this really would need its own blog post), and obviously Brahms’.
Brahms German Requiem is a particular in many ways. First of all, it was written under very personal circumstances, around the death of Brahms own mother. Second, given Brahms´protestant background (he’s from Hamburg), he doesn’t use the traditional latin text of the catholic requiem, but instead parts of the Bible that are of personal importance to him. These are sung in German, hence the name.
Yannick Nézet Séguin – Berlin Philharmonic Orchestra – Rundfunkchor Berlin – Hanna-Elisabeth Müller – Markus Werba
I was indeed very lucky last night. Not only I get to see again the BPO, one of the best orchestras in the world, but also finally get to see Yannick Nézet-Séguin live.
I’ve written a lot about his recordings, from his Cosi Fan Tutte to his Figaro. Most recently I did a more ambivalent review of his Mendelssohn symphony box. But taken together, he is one of the most relevant conductors of the 21st century.
Given his previous recordings, I expected this concert to be a relatively fast and lean performance. Well, from the first measure I was proven wrong. This was BPO beauty in full blast, with relatively slow tempo throughout.
Actually, I’m glad he did. Given the nature of this work, the grandiose and emotionally charged way Nézet-Séguin conducted this just worked out perfectly.
A word about the soloists: they don’t really have such an important role in this work (maybe with the exception of the central soprano solo Ihr habt nun Traurigkeit), and overall the soloists did an good job, but were not the most memorable parts of the evening. The audience seems to think the same: they got decent applause, but nothing out of the the ordinary.
The true star of the evening was the Rundfunkchor Berlin, under Gijs Leenaars. Their performance was just amazing. Not surprisingly, they received standing ovations at the end. Well deserved
The highlight of the evening for me was the second movement, Und alles Fleisch, es ist wie Gras. The combined power of the BPO, the powerful BPO hall organ, and the 80+ voices power (but also nuances) of the choir made this a performance I will never forget.
My rating: 5 star
P.S. If you want to see it yourself, and are not in Berlin (note that there are some tickets left for tonight Oct 20 and tomorrow Oct 21), you can also see the Saturday performance streamed live in the Digital Concert Hall.